STICH

Threads and needles, robust love and gone,
blood and flesh ;broken heart -dusk to dawn
carnal contours-a potion thet drains,
blazing stars in the sky are my confinements-like chains,
the gold is so old with its faded hue
like you the gold and me the faded who lost you,
We're each others mess both confined...
you vowed and signed
I am the solitary, in this doom,
ogling down the immaculate gloom
crossed the ocean -I am left ashore,
Broke the bridge -you wanted more...
the heather of the blue above- has now soften,
clogged up with the non obliterating darkness -I'm the lurken...
unhealed , wreaked heartbeat,
explosion is deafening- with you the color and me the stained sheet,
ricocheting voices -I am now a glitch!!!
a tethered heart needing a stich...

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Editor’s Note

The number one question our editors receive is—what do the editors and judges look for when judging the contest? The number one answer we give is creativity. Unlike prose, writing composed in everyday language, poetry is considered a creative art and requires a different type of effort and a certain level of depth. Of the thousands of poems entered in each contest, the ones that catch our judges’ eyes are the ones that remove us, even just slightly, from the scope of everyday life by using language that is interesting, specific, vivid, obscure, compelling, figurative, and so on. Oftentimes, poems are pulled aside for a second look based simply on certain words that intrigued the reader. So first and foremost, be sure your poetry is written using creative language. Take general ideas and make them personal. In his infamous book De/Compositions: 101 Good Poems Gone Wrong, W. D. Snodgrass imparts, “We cannot honestly discuss or represent our lives, any more than our poems, without using ideational language.”